Kickended by Silvio Lorusso is online database artwork archiving the Kickstarted campaigns that got not even a single penny. This competitive aesthetics of failure has been able to attract the attention of major national newspapers (from the British “The Guardian” to the Italian “Corriere della Sera”).

Graphic Constellations: Visual Poetry and the Properties of Space, it’s an exhibition celebrating the 50th anniversary of the First International Exhibition of Concrete, Kinetic and Phonic Poetry held in Cambridge in late 1964. Curated by Bronac Ferran and Will Hill at the Ruskin Gallery in Cambridge, UK (Image: ‘Poemkon=D=4=Open=Apollinaire’).

The Pirate Bay computers and servers have been seized by Swedish Police on a data center in Nacka (Greater Stockholm). It’s offline since December 9. http://torrentfreak.com/swedish-police-raid-the-pirate-bay-site-offline-141209/

“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.

Luca Forcucci – Fog Horns

CD – Sub Rosa

“Fog Horns” is the eleventh release in the Framework collection – an extension of Sub Rosa’s Concrete Electronics Noise series. This work showcases elaborations by Luca Forcucci, an Italian-Swiss sound artist whose work often combines installations, visuals and performances, and connects with a number of other artistic fields. Fog Horns immediately catches the attention of the listener with an unusual mix of “organic” field recordings and synthetic drones, alongside scratches and resounding cello chords. All audible expressions are perceived as undetached and the atmosphere feels muffled and metropolitan. The timbre of the horns and sirens and a very focused instrumentation create a vivid sense of the approaching fog. This is a concrete reference to the author’s travels in California: he was left enchanted by these long laments, muffled and lost in the empty space – although the album leaves open a large range of possible places and frequencies. The atmospheres are filled with cinematic and spacey echoes, crossed by waves and other natural captures; among the cuts different elements reveal themselves: bubbling, granular introverted sequences and more structural elements perfectly weave between highly visionary, pale drifts, breaks and undertows, fragments of conversations and mechanical loops. The drones and other ambient sources lose their own peculiarities, mixing with each other and giving life to dark and chaotic realities, where the unknown and the future flutter with uncertainty and a lack of control. The music generates feelings associated with the sense of loss and the act of creation, things that, usually, anticipate the rising of new times. Aurelio Cianciotta